The Portuguese documentary filmmaker Susana de Sousa Dias offers a comprehensive overview of her career over the past fifteen years, beginning with Natureza Morta (Still Life, 2005) through her current project, Estação Total (Total Station, working title). She explains that her films aim to reflect on authoritarian systems—especially the forty-eight year rule of Portuguese dictator António de Oliveira Salazar—and to shed light on the present through the materials of the past. In terms of her cinematic praxis, she discusses the vital importance of two techniques: “montage within the shot”—that is, a montage with visual, spatial, and temporal depth—and “decelerated movement,” which describes her approach to time and duration. Her most recent film, Fordlandia Malaise (2019), extends her work on repressive regimes to encompass current geopoliticals tructures with their underlying colonialist and imperialist heritage, whether derived from a European origin or from the ruth less capitalism of the New World.
Weak Memories: Archives of Futurability
Susana de Sousa Dias teaches at the University of Lisbon, where she received her PhD in Fine Arts-Video. Her films have been exhibited at festivals, art exhibitions, and venues such as Berlinale, Documenta 14, IDFA, and the Pacific Film Archive, and recognized with honors including the Grand Prix Cinéma du Réel and the FIPRESCI Award. In 2012 she created a femal collective that directed two editions of Doclisboa, establishing new sections such as Cinema of Urgency and Passages (Documentary & Contemporary Art).
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Susana de Sousa Dias; Weak Memories: Archives of Futurability. Film Quarterly 1 June 2020; 73 (4): 25–33. doi: https://doi.org/10.1525/fq.2020.73.4.25
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